#ChristianStella

[adrianvokov]

headers christianstella like

[warriorowan]

twisted lies/christianstella headers. please like or reblog if you save.

[azrielsbxtch]

Which is your most fav twisted couple ?

And fav twisted male and female characters too ?

Christian and Stella omg they’re my babies I ADORE THEM🥹🥹🥹

They’re also my favorite male and female characters in the series

Bridget and Rhys are next. Twisted Games is my second favorite.

[swetehert]

[lexxwithbooks]

📖: 𝑻𝒘𝒊𝒔𝒕𝒆𝒅 𝑳𝒊𝒆𝒔 (𝑇𝑤𝑖𝑠𝑡𝑒𝑑 #4) 🦋👙🦄

✍🏽: 𝐀𝐧𝐚 𝐇𝐮𝐚𝐧𝐠

[lilvcalloway]

Twisted Lies (2022)

[maddiesflame]

Twisted Lies headers

like/reblog if saved © maddiesflame

[daybrights]

christianstella vibes ✨

[idyllic-silhouette]

Romanticizing love was easy..... Falling in love was harder - Stella Alonso

:)

[hiloedits]

— christianstella headers

like or reblog if you use/save.

© hiloedits on twitter.

[doomonfilm]

ShudderWeen : After Midnight (2020)

As I continue my march through the multitude of choices provided by Shudder for ShudderWeen, I noticed myself consistently going down the road of exploitation horror cinema, with a major focus on the late 1970s and early 1980s.  I didn’t want to send myself into a rut, so I delayed my viewing of Sugar Hill and decided to search for something else.  It didn’t take long to stumble across After Midnight, a Shudder exclusive I remember them pushing pretty heavily last year.  With loose connections to the makers of The Endless, one of my all-time favorite modern day films, After Midnight felt like the obvious next step, so I settled in for a late night watch.

Horror stories often double as analogies for other topics, and After Midnight continues this tradition by positioning itself as a horror story based on love and attraction versus commitment and understanding.  Hank does seem to have good intentions in the love that he shows for Abby, but from the beginning (where the house is introduced), a feeling of “two against the world” is immediately present, which stands in stark opposition to the vignette-style memories we are shown of their courtship.  For a long while, we are unsure if Hank is creating monsters to avoid the real issue, which is finding a compromise that allows the love between he and Abby to grow.  In this sense, parallels between Hank’s attempts to capture the monster and his attempts to win over Abby (as well as the people who love and care for her) are obvious, but they do not come off as forced.  If anything, this is where the tension in the film is birthed from... Hank’s longing for the potential loss of Abby is the lifeblood of the film’s emotional spine, and in turn, it supports how all of his frustration from this situation is channeled into a new hunt that is presented as him trying to prove a monster’s existence, but subtextually serves as a cry for help and a need to be understood for how he is.

Outside of these paralleled horror and romance narratives (or, more than likely, deeply within them) is an examination of fragile masculinity, chiefly the fear and apprehension that comes with vulnerability in spite of how important it is for understanding your partner.  The symbolism of the monster hunt works extremely well in the way that it is held in comparison to the way that Hank lives in the memory of love rather than embracing his opportunities for love-filled moments that would expand the capacity for love between Abby and himself.  His monster-hunting actions, as previously mentioned, also come off as Hank loudly professing a need to be heard (knowingly or unknowingly), but without the clarity of knowing whether it should come in the form of a listener, a helper or someone to believe him.  Hank is unable to find this clarity, especially alone, as he is too focused on his personal needs and plans to read into or comprehend what Abby wants (or more importantly, needs).  Ultimately, After Midnight really finds its narrative harmonic resonance as a cautionary tale about attempting to keep a woman instead of attempting to love a woman.

From the opening scenes, we are presented with very creative editing that is largely non-linear in terms of chronology while managing to be extremely sound in the way that it presents the film’s emotional chronology.  The cinematography of the film is very kinetic, and surprisingly, the movement has a very playful edge to it, which helps keep viewers locked in and engaged.  Most of the film takes place in Hank’s house, and as a set, it is extremely effective without seemingly needing a lot of extra dressing or production work.  The distinct lighting found in the film expresses so much in terms of tone and emotion with seemingly small amounts of effort, which makes it noticeable without drawing attention away from the romantic core of the film.  In terms of the writing and performances, the film is sincerely and naturally funny despite humor clearly not being the intended goal.  The creature design, while memorable, works best in the early flashes and glimpses we get... some of the luster is lost when we finally get a good look at it, unfortunately, but not to a point that it upends our connection to the film.  There is an interesting mix of eerie score (which further sets the mood) and soundtrack choices that seem to directly inform us on the narrative subtext that hangs in the air.

Jeremy Gardner pours his all into the lead role, embracing the despair that comes with lost love, the stubbornness to change for your lover and the literal thrill of the hunt.  Brea Grant brings a softer energy with her performance, encapsulating the damaged nature of a wooed women forced to choose between love and the remainder of the world, and supercharging it with the energy of a woman on the brink of either pushing her lover towards awareness or disappearing.  Justin Benson brings a smug air of authority to the proceeding, serving not only as the literal law in the small town, but also the protector of his little sister currently trapped by a man incapable of loving her.  Henry Zebrowski makes the most of his humorous performance by injecting his appearances with down home natural humor, easing what would be an otherwise uncomfortably tense movie.  Praise must also be given to Keith Arbuthnot for the physicality displayed in the role of the creature, as well as the supporting cast of Ashley Song, Nicola Masciotra and Taylor Zaudtke.

Had I seen After Midnight last year, this film likely would have shown up on my honorable mentions of last year’s best of list at the least.  Before I started writing my own short films, I didn’t realize how much I enjoyed horror films as the setting for exploring other film conventions, but now that I am aware of it, I am hard-pressed to think of a better combination of horror and romance than what I found in After Midnight.  This film is certainly one that I will return to, and not just for October viewing.

[doohicky]

The metaphor may be blunt, but the bloody claws scratching at your back certainly aren't. Luckily love conquers all. Even a cross between the Predator and a dilophosauros - After Midnight (a... romhorror?) #aftermidnight #jeremygardner #christianstella #arrowvideo https://www.instagram.com/p/CLP562DlNq7/?utm_medium=tumblr

[warriorowan]

hey guys! i would like to ask whenever you make a request to be specific with how you want me to make it. like what highlight color you want, if messy or quotes header or both. this helps me a lot ♥

summary

couples

adamolive

alexava

alizehcyrus

averyjameson

axelrooney

christianstella

daemyra

danilachlan

dianadallas

evajacks

firstprince/alexhenry

gillow

hadleyelijah

irisroman

joeyaoife

jonathankennedy

knoxmemphis

knoxnaomi

konelena

lanalogan

maggiebrooks

manorian

maybellwesley

naominicholas

nathanstassie

nessamiko

percabeth

pipravi

rafepenny

rhysbridget

romajuliette

rowaelin

rowaelin pt.2

theowinter

vadcorvina

vip series

warnette

warnette pt.2

willacade

xadenviolet

rinaverse

jeremycecily

landonmia

nikobran

reinaasher

ronanteal

xanderkim

xanderkim pt.2

general

acotar series

a court of silver flames

book lovers

carrie soto is back

daisy jones and the six

from blood and ash

heartless

heartstopper

it ends with us

it ends with us pt.2

kingdom of the wicked

scythe

stormlight archive

the cruel prince

the infernal devices

the invisible life of addie larue

the unbecoming of mara dyer

characters

aelin galathynius

cardan greenbriar

cassian

feyre archeron

jude duarte

lucien vanserra

maven calore

nesta archeron

nikolai lantsov

victor vale

[outhouseofhorror]

#SundayFunday The #FridayNightHorrorShow #meetup #doublefeature #online #watchparties for #Sunday night #April 11th will feature #AfterMidnight 2019 by #director #JeremyGardner #ChristianStella at 7 PM EDT followed by #ADarkSong 2016 by dir #LiamGavin at 8:30 PM EDT 🤓🛋️🍺🍕📺📡🎬🎞️🎭😱 #FNHS uses #Kast - Let's watch at https://s.kast.live/g/b7pqcss4jaa 🤓🛋️📺📡🎬🎞️🎭😱 #OoH #ilovehorrormovies #ilovemovies #SundayNightMovie #SundayMotivation #selfquarantine #socialdistancing #spookymovie (at Shirlington House Apartments) https://www.instagram.com/p/CNiyel2LK2B/?igshid=1ecooc126cunq

[scifitalk]

Something Else

[fugandhi]

AFTER MIDNIGHT Official Trailer

TOTALLY gonna check this one out!

I encourage & recommend people check this one out (check your local listing!), especially for anyone who loves really awesome (and gnarly) flicks.

I’m a big supporter of the people that created this movie. Christian & Jeremy are very old friends of mine, and I am SO PROUD OF THEM. I’ve known these guys for a very long time (longer than I’ve known most people), and I’ve always believed in their creative talents, their intellectual ability, and all of the heart & soul they’ve put into everything they’ve done (since the time of Queequeg Films back in the ‘90s). 

A great deal of my childhood was spending time at The Stella household (which became my home-away-from-home for a while/literally they took me in when I had nowhere else to go at one point in my life), and that was always a huge blessing in my life to be a part of their life, too. I had some of the best experiences of my life in those earlier years, and it helped me a lot in my life in more ways than I may ever be able to fully comprehend. I could write a lot about my personal fondness for these dudes (hahaha). We had a lot of great times (and that continues with The Gardner family of course - another really sweet family that I cherish knowing).

All of my initial film experience in the independent film world all started back with these dudes back when we were all kids. I learned a lot from them, admired them, goofed off (a lot) with them - and absolutely embraced the creative experiences they made. There’s a lot of footage somewhere out there that the world may never see (probably for the better LMAO) that has a lot of really envelope-pushing, quirky, zany, hilariously random and often brilliant ideas that came from these guys. Having been in a few projects they created back in the day, I speak from firsthand experience in saying these dudes are the real deal. I could sing their praises all day long, but their work speaks for itself. I’m so thrilled they’re still making dreams into reality after all this time and I look forward to all of their success (they absolutely deserve it).

“The Battery” is also a really awesome zombie flick they made a while ago. That I HAVE seen and totally enjoyed the living shit out of it (had the same feeling ya must get when your own kid hits a home run at a ball game - So Proud of them).

This one’s for Christian & Jeremy (and the Queequeg crew).